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Mikhail F. Kiselyov


(b Valayka Station, Novgorod Province [now Lykoshino, Tver’ region], 1878; d en route from Germany to Paris, Feb 22, 1936).

Russian graphic artist, ceramicist, painter and designer. In 1896 he studied at the School of Drawing at the Society for the Encouragement of the Arts and in 1897 at Maria Tenisheva’s art school in St Petersburg, where he worked under Il’ya Repin until 1900. In 1904 he worked in the pottery studio at the Abramtsevo colony. At this period he employed Art Nouveau elements in his work, as in the majolica decorations for the Hotel Metropole, St Petersburg (early 1900s) and the majolica panel St George Triumphant for the Municipal Primary School on Bol’shaya Tsaritsynskaya [now Bol’shaya Pirogovskaya] Street in Moscow (1909). He took up book illustration in 1904 and his graphic talent flourished in the 1910s. His work for Apollon was particularly successful, his illustrations first appearing in its pages in 1911. Chekhonin soon became an original and skilful artist, using a sharp and elastic line interspersed with dots. From ...


Laima Laučkaitė

(b Sejny (now Poland), Nov 14, 1890; d Vilnius, June 13, 1961).

Lithuanian painter, art theoretician, and teacher. He studied at the Vilnius School of Drawing (1910–2), Moscow Drawing School of Konstantin Yuon (1912–6, simultaneously studied law at Moscow University), and Moscow School of Painting, Sculpture and Architecture (1917–8). During the World War I he was drafted into the army. In 1918–19 he worked in the Art Department of People’s Education in the Voronezh district, and in 1920 he was an artist and advisor on art at the Fifth Red Army headquarters in Irkutsk. In 1920–21 he studied in Vkhutemas (Higher Art and Technical Studios) in Moscow under Pavel Kuznetsov, where he joined the Russian avant-garde movement, working in Constructivism, Cubism, and Suprematism. In 1921–32 he lived in Vilnius (then belonging to Poland) and taught drawing in Lithuanian schools and his own studio (1921–8). He organized the Exhibition of New Art in Vilnius in 1923...


Christina Lodder


(b Bol’shiye Gorky, province of Vladimir, 1873; d Moscow, 1943).

Russian painter and sculptor. He studied in Kiev and Warsaw in the 1890s and then in Moscow, and initially painted in a Symbolist style (e.g. Portrait of the Artist’s Wife (Consumption), 1910; Athens, George Costakis priv. col., see Rudenstine, p. 141). In 1907 he met Malevich and later joined the Union of Youth group, contributing to their final exhibition in St Petersburg during the winter of 1913–14. At this time Klyun began producing sculptures and reliefs using stylistic devices from Cubism and Futurism. The most dynamic and abstract of these is Rapidly Passing Landscape (1915; Moscow, Tret’yakov Gal.), constructed from painted wood, wire, metal and porcelain. Klyun was in close contact with Malevich from 1913 and signed Malevich’s Suprematist manifesto of December 1915. Klyun later produced Suprematist works, including a series of small paintings (untitled) depicting single geometric forms in various colours on white grounds (c. 1917; Athens, George Costakis priv. col., see Rudenstine, p. 147). In ...


Troels Andersen


(b Kiev, Feb 26, 1878; d Leningrad [now St Petersburg], May 15, 1935).

Russian painter, printmaker, decorative artist and writer of Ukranian birth. One of the pioneers of abstract art, Malevich was a central figure in a succession of avant-garde movements during the period of the Russian revolutions of 1905 and 1917 and immediately after. The style of severe geometric abstraction with which he is most closely associated, Suprematism (see fig.), was a leading force in the development of Constructivism, the repercussions of which continued to be felt throughout the 20th century. His work was suppressed in Soviet Russia in the 1930s and remained little known during the following two decades. The reassessment of his reputation in the West from the mid-1950s was matched by the renewed influence of his work on the paintings of Ad Reinhardt and on developments such as Zero, Hard-edge painting and Minimalism.


or Oudaltsovaor Oudaltzova Nadejda

Russian, 19th – 20th century, female.

Born 1866, in Orel; died 1961, in Moscow.

Painter (including gouache), collage artist.


Bubnovy Valet (Jack of Diamonds) group.

Moving from the small village of Orel to Moscow in 1892, Nadezhda Andreevna Udaltsova was educated at a girl’s school until 1905. From 1905 to 1909, she attended the Moscow School of Painting, Sculpture and Architecture led by Ivan Dudin and Konstantin Yuon. Udaltsova studied with Vladimir Tatlin in Moscow before traveling to Paris, France. In 1913, she enrolled at Academie La Palette under Jean Metzinger, Henri Le Fauconnier, and Andre Segonzac. On her return from Paris to her hometown of Moscow in 1913–1914, she studied with Tatlin and Rogovin at their ‘Tower’ studio, where she created a large number of Rayonist compositions.

Her Cubist practice used multiple points of perception to express an alternative vision of reality, and that artistic exploration aided her understanding of the stylistic movement of Rayonism that Tatlin practiced. Rayonism expresses a vigor and movement through fragmented visual perception that Uldatsova used between ...